https://czasopisma.bg.ug.edu.pl/index.php/SS/issue/feed Studia Scandinavica 2019-07-04T11:48:54+02:00 Karolina Drozdowska k.drozdowska@ug.edu.pl Open Journal Systems <p>Studia Scandinavica to interdyscyplinarne czasopismo naukowe gdańskich skandynawistów. Podejmując zagadnienia związane z językiem, literaturą, kulturą, historią nadbałtyckiego regionu Europy Północnej, wychodzi naprzeciw rosnącemu w Polsce zainteresowaniu Danią, Norwegią, Szwecją, Islandią, Finlandią.</p> https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2837 Słowem wstępu 2019-07-02T08:35:44+02:00 Hieronim Chojnacki filhch@ug.gda.pl Karolina Drozdowska k.drozdowska@ug.edu.pl Magdalena Podlaska k.drozdowska@ug.edu.pl Hanna Dymel-Trzebiatowska filhdt@univ.gda.pl Maria Sibińska films@univ.gda.pl Katarzyna Wojan finkw@ug.edu.pl 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2816 Zmagania z mitem. Dorastanie i śmierć w literackiej relacji Linn Ullmann 2019-07-02T08:06:39+02:00 Karolina Drozdowska k.drozdowska@ug.edu.pl <p style="text-align: justify;">The aim of this text is to analyze Linn Ullmann’s novel Unquiet (published in 2015) as a literary account of a family history and death of the author’s father, Ingmar Bergman. The article concentrates on how Ullmann, through different formal strategies, manages to tell a very intimate story without reducing it to tabloid-like coverage. First, the article briefly discusses autobiographism, biographism, autofiction and performative biographism as dominating tendencies in Norwegian literature in the 2010’s, placing Ullmann’s novel in this context. Secondly, theoretical perspectives which might be employed in the process of analyzing Unquiet are defined. Lastly, the novel’s form is analyzed with regard to this particular approach. The article’s aim is to present Linn Ullmann’s Unquiet as a novel hybrid in its form, and thus, an one-of-a-kind phenomenon in modern Norwegian literature.</p> 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2817 Fårö, wyspa Bergmana 2019-07-02T08:07:23+02:00 Ewa Mrozek-Sadowska ewams@wp.pl <p style="text-align: justify;">This paper is an attempt to investigate the relationship between Ingmar Bergman, the Swedish auteur and the island of Fårö in the Baltic, where he worked and lived for 40 years. Bergman said: “If one wished to be solemn, it could be said that I had found my landscape, my real home; if one wished to be funny, one could talk about love at first sight.” He discovered the island when looking for a location to shoot Through a Glass Darkly. Including Through a Glass Darkly, Bergman was to shoot six films and one television series on Fårö. He also made two documentary films about the island and its inhabitants: Fårö Document 1969 and Fårö Document 1979.</p> 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2818 Figura błazna jako alter ego Bergmana w teatrze 2019-07-02T08:08:09+02:00 Monika Samsel-Chojnacka msamsel@wp.pl <p style="text-align: justify;">One of Bergman’s favourite figures was the jester or the clown. When appearing on stage, they gather the whole attention of both audience and other characters. In theatre productions Bergman used three strategies to express his fondness for this figure – he either emphasized jesters already existing in the text of the drama, provided other characters with clownish features (both visual and mental), or he even created clown-like figures and added them to the original drama. This was done not only to stress comic aspects, but mainly to expose the psychological complexity of the personalities of these figures. In my article, I analyse all three levels of this phenomenon in productions of Shakespeare, Ibsen and Gombrowicz, trying to find the source of inspiration behind them, as well as a common thread between them.</p> 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2819 Olaf Malms historie. Om en skjebnefigur i Vilhelm Bergsøes roman "Fra Piazza del Popolo" 2019-07-02T08:10:04+02:00 Harald Bache-Wiig harald.bache-wiig@iln.uio.no <p style="text-align: justify;">In translation the title of this article would be: “The story of Olaf Malm: About a person of destiny in Vilhelm Bergsøes’s novel Fra Piazza del Populo”. The novel was published in 1867, and in many editions it is subtitled: “a cycle of short stories”. But this article is meant to show the reader that one of the stories, told by a character called “The old artist”, in itself can be read as a completed work of literature. The story of a young, Norwegian sculptor is meticulously composed, weaving a tissue of entangled threads of destiny. All his works are demolished, yet the protagonist finally appears as a creator of divine art. This is also an accomplishment both of the narrator: the old artist, and Bergsøe himself.</p> 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2820 "Peer Gynt" – en pikaresk tekst? 2019-07-02T08:10:53+02:00 Knut Brynhildsvoll knut.brynhildsvoll@ibsen.uio.no <p style="text-align: justify;">The term picaresque is usually limited to narrative forms of expression, prose fiction and novels. New research has, however, shown that the designation is far more heterogeneous and includes certain kinds of poetry, comedy, and opera libretti. If the picaresque genre is defined in terms of common contents, topics and motifs, it comprises the drama and the theatre as well. It is significant that Lazarillo de Tormes (1554), the first picaresque novel in Spain, already contains dramatic scenes and passages of dialogue. This extended and hybrid genre understanding of picaresque narrative legitimizes this essay’s approach, focusing on individual, thematic and formal elements which link the plot of Peer Gynt to the main features of picaresque literature.</p> 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2821 «Og det er ikkje vits i å seie noko» – om Jon Fosses "Eg er vinden" 2019-07-02T08:13:55+02:00 Zsófia Domsa zsofi.domsa@gmail.com <p style="text-align: justify;"><em>I Am the Wind</em> is one of the last works Jon Fosse wrote for theatre. The piece was first staged during the Bergen Festival in 2007. Even though it was only a few years later that Fosse declared the end of his dramatic career, his playwriting with this play is clearly moving on its way out of the theatre and into a borderland between thought and action; it manifests an extremely subjective and the physical presence in which items from Fosse’s poetry are more clearly seen. In this article, I want to read <em>I Am the Wind</em> primarily as a theatre piece, that is, a text written for the stage, and emphasize the use of poetic elements. The piece’s sections of dialogue revolve around existential and individual psychological questions at the boundary of the banal; it thematizes both the need and the fear of loneliness. It also deals with nature’s magical attraction to humans and with the importance of silence on several levels. The work stages the death wish of late modern humanity, and provides lyrical and language-philosophical interpretations of this, which I wish to read into the apparently simple plot of the piece.</p> <p style="text-align: justify;"><em>I Am the Wind</em> can be described through a number of features that also characterize both earlier and later pieces of Fosse’s writing. Simply put, the play is about two people’s voyage to the open sea in a boat; one of the characters jumps overboard and commits suicide. The situation in the play takes place either in the head of the one who witnesses the suicide, or there is a meeting between the two characters after death. Either way, this is a basic situation which assumes that the expectations of a realistic stage action are to be set aside. But what is the reason why Fosse shifts his piece against a dramatic zero point? What is the purpose of reducing the stage expression to a lyrical outline that almost destroys the theatrical form? Fosse often opts for silent moments in his pieces. <em>I Am the Wind</em> is an infinite and enigmatic boat trip that requires us to look at the play as a landscape without being forced to define it in words: for the words disappear during the boat trip; they are taken and gone with the wind; “there is no point in saying anything.”</p> 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2822 Gæst hos virkeligheden. Sprogets landflygtighed i "Løgneren" af Martin A. Hansen og "Det svundne er en drøm" af Aksel Sandemose 2019-07-02T08:15:27+02:00 Jørgen Veisland finjv@univ.gda.pl <p style="text-align: justify;">Central motifs and episodes form interesting and significant links between Aksel Sandemose’s novel <em>Det svundne er en drøm</em>, published in 1946, and Martin A. Hansen’s novel from 1950, <em>Løgneren</em>. The motifs of truth versus lie, and the intermingling of the two, and of the split subject, manifest themselves in the protagonists who share a common first name, Johannes. The texts are an attempt to write diaries that transcend the borderline between past and present, fiction and reality, truth and lying. The diary form, composed in the first person as an alternative to the novel form proper, is viewed by both protagonists as an experiment that questions the ability of language to portray reality accurately and truthfully. Furthermore, the diaries break with chronology in order to come to terms with a darkness within, an essentially unknown, demonic territory that prevents knowledge and truth from emerging. Central episodes in the two diaries are practically identical, e.g. the drowning accident that takes place in both texts, the absence of the ‘I’ of the diary from home, and the sense of alienation from home. Additionally, significant symbols recur in both texts, e.g. a necklace and migratory birds. The protagonists’ relationships to women are all but identical and involve an examination of the past and of guilt that becomes a potential key to resolving what constitutes guilt, conscience, home and exile. The two texts form an intertext and there is compelling evidence pointing to Sandemose’s diary having profoundly influenced Hansen’s narrative.</p> 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2823 Zajęcie i okupacja Islandii przez wojska brytyjskie 1940–1943 2019-07-02T08:16:11+02:00 Krzysztof Kubiak krzysztof.kubiak@ujk.edu.pl <p style="text-align: justify;">After the German invasion of Denmark, Winston Churchill, then forming a new cabinet, decided to occupy Iceland. According to the British Prime Minister, this was an operation to prevent the Germans from establishing themselves on the island. According to Churchill, the Germans – who had been successful in Norway – had not only the opportunity and the right forces, but also the strategic motivation to capture Iceland. It should be underlined that, at the time, Iceland, which since 1918 had been an independent state in a personal union with Denmark, declared the will to be strictly neutral. However, Iceland was not able to defend itself. Apart from about 150 policemen and Coast Guards, there were no Icelandic armed forces. The article presents the circumstances and conditions of the British “invasion” of Iceland and the course of the occupation.</p> 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2824 Farewell to (post)colonialism in Danish-Greenlandic relations? And then again, maybe not… 2019-07-02T08:17:08+02:00 Kazimierz Musiał kazimierz.musial@ug.edu.pl Agata Lubowicka finalu@ug.edu.pl <p style="text-align: justify;">The aim of the article is to investigate the allegedly new relationship between Greenland and Denmark in Danish political and literary discourses relating to Greenland, by approaching it from two different research perspectives – those of political and literary studies. The analysis draws on the theoretical work of Pierre Bourdieu and his concepts of habitus, capitals and dispositions that together create a hegemonic order. It also applies the concept of framing, as operationalised by A. Pluwak, B. Scheufele, W.A. Gamson, and A. Modigliani in the social sciences. The essay is structured according to the core framing tasks: diagnostic, prognostic and motivational, and their confluence with the temporal frames of the 1950s, the 1970s and the period beyond the 1990s. The analysis employs examples from both post-WW2 official documents related to Greenland and produced in or on behalf of Denmark, and from Danish literature about Greenland published in the same time periods.</p> 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2825 Dyplomacja na peryferiach. „Specjalne kontakty” polsko-norweskie w latach 60. XX wieku 2019-07-02T08:17:49+02:00 Michał Przeperski michal.przeperski@ipn.gov.pl <p style="text-align: justify;">“Special contacts” developed by Norway and Poland during the years 1963–1968 may serve as a unique example of peripheral diplomacy. The sense of Polish initiatives such as the Gomułka Plan consisted not only in relaxing the political tension in Europe, but also on securing the western Polish border, which was not internationally recognized by the West. Hence, initially, political contacts between Oslo and Warsaw served as a way of exercising soft pressure on NATO countries to change their stance. However, they had other interesting aspects, too, such as promotion of Polish culture in Norway. It was 1968 that marked a final date of the “special contact.” It was the anti-Semitic campaign that took place in Poland that year, rather than invasion of Czechoslovakia, that was a final reason for this ending.</p> 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2826 Hanna Dymel-Trzebiatowska, „Książka obrazkowa w Skandynawii dawniej i dziś: od drzeworytów po medium dla wszystkich” (w:) „Książka obrazkowa. Wprowadzenie”, red. M. Cackowska, H. Dymel-Trzebiatowska, J. Szyłak, Poznań: Instytut Kultury Popularnej, 2017 2019-07-04T11:48:54+02:00 Justyna Haber-Biały justyna.haber@wp.pl 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2827 Katarzyna Szewczyk-Haake, „Nowoczesna literatura etyczna. Wokół twórczości Józefa Wittlina i Pära Lagerkvista”, Poznań: Wydawnictwo Naukowe, 2017, 405 ss. 2019-07-02T08:19:08+02:00 Maria Sibińska films@univ.gda.pl 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2828 Magdalena Żmuda-Trzebiatowska, „Folkhemmet – czyli wspólny, dobry dom – w szwedzkich narracjach literackich o dzieciństwie”, seria: Filologia Skandynawska nr 17, Poznań: Wydawnictwo Naukowe UAM, 2017, 255 ss. 2019-07-02T08:19:45+02:00 Hieronim Chojnacki filhch@ug.gda.pl 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2829 Sprawozdanie z konferencji „Interfacing Minorities: Creative Hybridity and Unexpected Environments” 2019-07-02T08:29:12+02:00 Maja Chacińska maja.chacinska@ug.edu.pl 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2830 Relacja z konferencji IASS „Scandinavian Exceptionalisms” 2019-07-02T08:30:08+02:00 Karolina Drozdowska k.drozdowska@ug.edu.pl Marta Grzechnik marta.grzechnik@ug.edu.pl 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2831 Relacja z konferencji „From Morals to the Macabre in Translation for Children” 2019-07-02T08:31:23+02:00 Hanna Dymel-Trzebiatowska filhdt@univ.gda.pl 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2832 Gdański „Dzień Bergmana” na Wydziale Filologicznym UG 2019-07-02T08:33:00+02:00 Monika Samsel-Chojnacka msamsel@wp.pl 2018-12-28T00:00:00+01:00 Copyright (c) https://czasopisma.bg.ug.edu.pl/index.php/SS/article/view/2833 Relacja z konferencji „Dramatyka kultury i natury: relacje między Polską a Północą” 2019-07-02T08:33:37+02:00 Mateusz Topa topa.mateusz@gmail.com 2018-12-28T00:00:00+01:00 Copyright (c)